Fette Sans, Film still from a film [homage to], 2014. Watch.
One year ago, on warmer roofs, I met with this fabulous woman.
Los Angeles, California.
But from time to time. From time to time. What tenderness in these little words, what savagery.
Samuel Beckett, from Molloy, 1951. Via.
Fette Sans, Exhaustion can occur merely attempting to breathe, 2013.
If you happen to be in Los Angeles, I recommend that you attend the fabulous LA Art Book Fair - the opening is tonight and you will be able to find the most gorgeous printed wonders. And, my book will be presented by VIA Publication at the MOCA Store on Friday, so go. And to purchase it directly, go here.
Everything around me is beige. I hope the color doesn’t dissolve into my dreams.
Most people fear confusion, but I think confusion is the truth and I seek it out.
Dennis Cooper. Via.
Music video for John Foxx And The Maths, Talk, directed by Macoto Tezka, 2013. Via.
Fette Sans, Untitled, 2010.
Anthony McCall: Yes, cinema creates a virtual world, a place that you enter with your eyes and your imagination but not with your physical body. My pieces require that your actual body be there in the flesh, in the present. And active.
Stephen Johnstone: Does the work intimate the body?
Anthony McCall: I’d like to think so. And even though I didn’t realize it at the time, this possibility began with one of the solid-light films I made in 1974, Cone of Variable Volume. In that piece the projected conical form rhythmically expands and contracts at different speeds. When I looked at it five years ago or so, I realized that the motion of one of its sections looked like breathing. In a later section, where the same motion was considerably faster, it took on an erotic overtone. I was surprised that I’d never noticed this before.
Fette Sans, Untitled, 2014.